UNIVERSITY  OF  CALIFORNIA  PUBLICATIONS 

IN 

AMERICAN    ARCHAEOLOGY   AND    ETHNOLOGY 

Vol.  15,  No.  2,  pp.  187-206  May  10,  1919 


NABALOI    SONGS 


BY 
C.  R.  MOSS  AND  A.  L.  KROEBER 


UNIVERSITY  OF  CALIFORNIA  PRESS 
BERKELEY 


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Cited  as  Univ.  Calif.  PubL  Am.  Arch.  Ethn.  P™e 

^  VoL  1.     1.  Life  and  Culture  of  the  Hupa,  by  Pliny  Earle  Goddard.    Pp.  1-88;  plates 

1-30.    September,  1903  $1-25 

2.  Hupa  Texts,  by  Pliny  Earle  Goddard.    Pp.  89-368.    March,  1904 3.00 

Index,  pp.  369-378. 
Vol.  2.     1.  The  Exploration  of  the  Potter  Creek  Cave,  by  William  J.  Sinclair.  Pp.  1-27; 

plates  1-14.    April,  1904 40 

2.  The  Languages  of  the  Coast  of  California  South  of  San  Francisco,  by  A.  L. 

Kroeber.    Pp.  29-80,  with  a  map.    June,  1904 - 60 

3.  Types  of  Indian  Culture  in  California,  by  A.  L.  Kroeber.    Pp.  81-103.    June, 

1904  ~ 25 

4.  Basket  Designs  of  the  Indians  of  Northwestern  California,  by  A.  L. 

Kroeber.    Pp.  105-164;  plates  15-21.    January,  1905  .75 

—  5.  The  Yokuts  Language  of  South  Central  California,  by  A.  L.  Kroeber.    Pp. 

165-377.    January,  1907  2.25 

Index,  pp.  379-392. 
^  Vol.  3.     The  Morphology  of  the  Hupa  Language,  by  Pliny  Earle  Goddard.    344  pp. 

June,  1905  3.50 

Vol.  4.  Wl.  The  Earliest  Historical  Relations  between  Mexico  and  Japan,  from  original 
documents  preserved  in  Spain  and  Japan,  by  Zelia  Nuttall.  Pp.  1-47. 

.          April,  1906  50 

»  2.  Contribution  to  the  Physical  Anthropology  of  California,  based  on  collec- 
tions in  the  Department  of  Anthropology  of  the  University  of  California, 
and  in  the  U.  S.  National  Museum,  by  Ales  Hrdlicka.  Pp.  49-64,  with 

5  tables;  plates  1-10,  and  map.    June,  1906  75 

3.  The  Shoshonean  Dialects  of  California,  by  A.  L.  Kroeber.    Pp.  65-166. 

February,  1907  1-50 

-  4.  Indian  Myths  from  South  Central  California,  by  A.  L.  Kroeber.    Pp.  167- 

250.    May,  1907  ~ 75 

-  5.  The  Washo  Language  of  East  Central  California  and  Nevada,  by  A.  L. 

Kroeber.    Pp.  251-318.    September,  1907  75 

V6.  The  Religion  of  the  Indians  of  California,  by  A.  L.  Kroeber.    Pp.  319-356. 

September,  1907  -60 

Index,  pp.  357-374. 
Vvol.5.     1.  The  Phonology  of  the  Hupa  Language;  Part  I,  The  Individual  Sounds,  by 

Pliny  Earle  Goddard.    Pp.  1-20,  plates  1-8.    March,  1907 —      .35 

2.  Navaho  Myths,  Prayers  and  Songs,  with  Texts  and  Translations,  by  Wash- 

ington Matthews,  edited  by  Pliny  Earle  Goddard.    Pp.  21-63.    Septem- 
ber, 1907  75 

3.  Kato  Texts,  by  Pliny  Earle  Goddard.    Pp.  65-238,  plate  9.    December,  1909    2,50 

4.  The  Material  Culture  of  the  Klamath  Lake  and  Modoc  Indians  of  North- 

eastern California  and  Southern  Oregon,  by  S.  A.  Barrett.    Pp.  239-292, 
plates  10-25.    June,  1910 75 

5.  The  Chimariko  Indians  and  Language,  by  Roland  B.  Dixon.    Pp.  293-380. 

August,  1910  - - —     1-0° 

Index,  pp.  381-384. 
</  Vol.6.     1.  The  Ethno-Geography  of  the  Porno  and  Neighboring  Indians,  by  Samuel 

Alfred  Barrett.    Pp.  1-332,  maps  1-2.    February,  1908  3.25 

2.  The  Geography  and  Dialects  of  the  Miwok  Indians,  by  Samuel  Alfred 

Barrett.    Pp.  333-368,  map  3. 

8.  On  the  Evidence  of  the  Occupation  of  Certain  Regions  by  the  Miwok 
Indians,  by  A.  L.  Kroeber.    Pp.  369-380. 

Nos.  2  and  3  in  one  cover.    February,  1908 .50 

Index,  pp.  381-400. 


UNIVERSITY  OF  CALIFORNIA   PUBLICATIONS 

IN 

AMERICAN    ARCHAEOLOGY   AND    ETHNOLOGY 

Vol.  15,  No.  2,  pp.  187-206  May  10,  1919 


NABALOI  SONGS 

BY 

C.  K.  MOSS  AND  A.  L.  KROEBER 


CONTENTS 

PAGE 

Introduction  187 

Words  and  translations ]  88 

Transcriptions  193 

Analysis  of  music _ 195 

Tonality   and   scale 195 

Intervals  198 

Rhythm   and  structure 199 

Summary    202 

Comparisons  203 

Other    Nabaloi   songs 203 

Other  groups  205 


INTRODUCTION 

The  following  songs  are  from  the  Nabaloi  of  Kabayan  and  from  the 
neighboring  Nabaloi-Kankanay  of  Buguias ;  both  in  Benguet,  northern 
Luzon,  Philippine  Islands.  These  two  Igorot  groups  began  to  come 
under  Christian  influence  only  toward  the  close  of  the  period  of  Span- 
ish rule  of  the  islands.  The  words  were  recorded  and  translated  in 
1915  by  C.  R.  Moss.  The  melodies  were  transcribed  by  ear  by  Teodoro 
Francisco,  instructor  of  the  Kabayan  school  band.  For  the  analyses 
and  comparisons  A.  L.  Kroeber  is  responsible. 


188  University  of  California  Publications  in  Am.  Arch,  and  Ethn.     [Vol.  15 


WORDS  AND  TRANSLATIONS 
1.  GIMANGAMAN 

1.  Gayumko  gimangaman ;  gayumko  gimangaman.    Gaya,  gaya,  may- 

kaga. 

2.  Iti  all  kamajon:1  iti  all  kamajon.    Gaya,  gaya,  maykaga. 

3.  To  nankoma  komayan ;  to  nankoma  komayan.  Gaya,  gaya,  maykaga. 

4.  Jo  i  olop  si  Babad ;  jo  i  olop  si  Babad.    Gaya,  gaya  maykaga. 

5.  To  ak  i  chibchiban ;  to  ak  i  chibchiban.    Gaya,  gaya,  maykaga. 

1.  My  spear,  the  sacrificial  spear ;  my  spear,  the  sacrificial  spear.    Ex- 

perience, experience  then. 

2.  There  came  a  centipede;  there  came  a  centipede.     Experience,  ex- 

perience, then. 

3.  It  climbed  up  and  down;  it  climbed  up  and  down.     Experience, 

experience  then. 

4.  You  bring  with  you  Babad;  you  bring  with  you  Babad.     Experi- 

ence, experience  then. 

5.  He  will  tell  me  what  it  predicts :  he  will  tell  me  what  it  predicts. 

Experience,  experience  then. 


2.  OYAMI 

1.  Ma  alis  Oyami ;  ma  alis  Oyami. 

2.  Angagto  ni  timpepi;  angagto  ni  timpepi. 

3.  Tuay  idaguanmoso?     Tuay  idaguanmoso? 

4.  Idauko'd  chi  Kayapa;  idauko'd  chi  Kayapa. 

5.  Nak  isadat  ni  baka;  nak  isadat  ni  baka. 

6.  Idako  nan  Kamora;  idako  nan  Kamora. 

1.  Is  coming  Oyami ;  is  coming  Oyami. 

2.  She  is  carrying  a  timpepi;  she  is  carrying  a  timpepi. 

3.  "Where  are  you  taking  it?    Where  are  you  taking  it?" 

4.  ' '  I  will  take  it  to  Kayapa ;  I  will  take  it  to  Kayapa. 

5.  I  will  exchange  it  for  a  baoa;  I  will  exchange  it  for  a  baca. 

6.  (I)  will  sell  to  Kamora;  (I)  will  sell  to  Kamora." 


1  "J"  somewhat  approximating  its  English  value,  that  is,  dj. 


1919]  Moss-Kroeber:  Nabaloi  Songs  189 

3.  ORANGAK  ALID  BAYBAY   (KANKANAY) 

1.  Orangak  alid  baybay ;  orangak  alid  baybay. 

2.  Orangak  chi  sepjiakto ;  orangak  chi  sepjiakto. 

3.  Kuanko,  sasengunko;  kuanko,  sasengunko. 

4.  I  chanom  i  waswasto;  i  chanom  i  waswasto. 

5.  Ji  angulot  i  waswasto;  ji  angulot  i  waswasto. 

6.  Sorangto,  sorangto;  sorangto,  sorangto. 

7.  Sidanko  ch.ua 'n  singi ;  sidanko  chua'n  singi. 

8.  Simbik  i  mabdin  bil ;  simbik  i  mabdin  bii. 

9.  Insabik  i  kalonto ;  insabik  i  kalonto. 

10.  Ji  agontolotolok ;  ji  agontolotolok. 

11.  Kin  makaok  i  manok ;  kin  makaok  i  manok. 

12.  Ji  agontolotolok;  ji  agontolotolok. 

13.  Sorangko  ni  bayingko ;  sorangko  ni  bayingko. 

14.  Ta  tobako  kinkauko ;  ta  tobako  kinkauko. 

15.  Dangdang  i  inakanto ;  dangdang  i  inakanto. 

1.  I  am  a  fish  from  the  ocean ;  I  am  a  fish  from  the  ocean. 

2.  I  am  a  fish  from  its  shore ;  I  am  a  fish  from  its  shore. 

3.  I  said,  "I  will  go  against  the  current";  I  said,  "I  will  go  against 

the  current. 

4.  The  water,  the  flowing  water;  the  water,  the  flowing  water." 

5.  But  muddy  was  the  water ;  but  muddy  was  the  water. 

6.  For  this  reason,  for  this  reason ;  for  this  reason,  for  this  reason. 

7.  I  went  against  the  current  of  two  brooks ;  I  went  against  the  cur- 

rent of  two  brooks. 

8.  I  found  a  pretty  mate ;  I  found  a  pretty  mate. 

9.  All  night  I  tried  to  engage  her ;  all  night  I  tried  to  engage  her, 

10.  But  she  would  not  agree ;  but  she  would  not  agree. 

11.  Until  crowed  the  cock ;  until  crowed  the  cock. 

12.  But  she  would  not  agree ;  but  she  would  not  agree. 

13.  On  account  of  my  shame ;  on  account  of  my  shame ; 

14.  Then  tobacco  I  requested ;  then  tobacco  I  requested. 

15.  A  cigar  I  was  given;  a  cigar  I  was  given. 

4.  PALANAJO 

1.  Ma  alis  Palanajo ;  ma  alis  Palanajo. 

2.  Balitok  i  toktokto ;  balitok  i  toktokto. 

3.  Yabyab  i  tangidato;  yabyab  i  tangidato. 


190  University  of  California  Publications  in  Am.  Arch,  and  Ethn.     [Vol.  15 

4.  Siwisiwi  takdayto ;  siwisiwi  takdayto. 

5.  Sulibau  i  ulpoto;  sulibau  i  ulpoto. 

6.  Chapochap  i  chaponto ;  chapochap  i  chaponto. 

7.  Salochang  i  tagdangto ;  salochang  i  tagdangto. 

1.  Is  coming  Palanajo;  is  coming  Palanajo. 

2.  Gold  is  his  head ;  gold  is  his  head. 

3.  Bellows  are  his  ears;  bellows  are  his  ears. 

4.  A  sieve  for  gold  are  his  hands ;  a  sieve  for  gold  are  his  hands. 

5.  Drums  are  his  thighs;  drums  are  his  thighs. 

6.  Instruments  for  hunting  gold  are  his  feet ;  instruments  for  hunting 

gold  are  his  feet. 

7.  A  basket  for  gold  dirt  are  his  ribs ;  a  basket  for  gold  dirt  are  his  ribs. 

5.  BAKLATANKO 

1.  Baklatanko's  Kamising;  di  binalyanto'd  Gusaran-i. 

Iman  imayoroti. 

2.  Baklatanko's  Lamsis-i;  di  binalyanto'd  Daklan-i. 

Iman  imayoroti. 

3.  Baklatanko's  Kuan  Bijar;  di  binalyanto'd  Kabayan. 

Iman  imayoroti. 

1.  I  will  invite  Kamising;  where  he  lives  is  Gusaran. 

That  one  is  a  celebrator  of  the  pachit. 

2.  I  will  invite  Lamsis ;  where  he  lives  is  Daklan. 

That  one  is  a  celebrator  of  the  pachit. 

3.  I  will  invite  Juan  Bijar ;  where  he  lives  is  Kabayan. 

That  one  is  a  celebrator  of  the  pachit.2 

6.  TIKDAUAK,  PITINGAYAK 

1.  Tikdauak,  pitingiak;  pitdauak,  pitingiak. 

2.  Manbalayjak  chi  bato ;  manbalayjak  chi  bato. 

3.  Bato'n  agkutokutol;  bato'n  agkutokutol. 

4.  Ma  alis  Iidungko ;  ma  alis  Ildungko. 

5.  Toak  inkasokaso;  toak  inkasokaso. 

6.  Agto  at  pangoso ;  agto  at  pangoso. 

7.  Yomut,  ikitanko;  yomut,  ikitanko. 

8.  Inkaya  kayadoko ;  inkaya  kayadoko. 


2  The  song  is  continued  by  using  the  names  of  the  other  rich  men  who  cele- 
brate the  pachit. 


1919]  Moss-Kroeber :  Nabaloi  Songs  191 

1.  I  am  a  frog,  I  am  a  frog ;  I  am  a  frog,  I  am  a  frog. 

2.  I  live  under  a  stone ;  I  live  under  a  stone. 

3.  A  stone  rough-surfaced;  a  stone  rough-surfaced. 

4.  Is  coming  my  mate ;  is  coming  my  mate. 

5.  He  was  taking  hold  of  me ;  he  was  taking  hold  of  me. 

6.  He  did  not  quite  let  go ;  he  did  not  quite  let  go. 

7.  This  is  how  it  was — I  tied  a  string;  this  is  how  it  was — I  tied  a 

string. 

8.  Then  I  pulled  it ;  then  I  pulled  it.     (Etc.) 

7.  KABADYOK  (KANKANAY) 

1.  Kabadyok  i  lablabang ;  kabadyok  i  lablabang. 

2.  Panagtago'd  Mankayan;  panagtago'd  Mankayan. 

3.  Inabatkoi  babasang ;  inabatkoi  babasang. 

4.  Imbagbagaday  sakang ;  imbagbagaday  sakang. 

5.  Anitay  sumay  sagang;  anitay  sumay  sagang. 

6.  Ta  asi  tamasagang ;  ta  asi  tamasagang. 

7.  To  mowada,  mowada;  ta  mowada,  mowada. 

8.  Ta  mankoi  sin  baiko ;  ta  mankoi  sin  baiko. 

1.  My  horse  is  spotted  white  and  black ;  my  horse  is  spotted  white  and 

black. 

2.  I  caused  it  to  run  to  Mankayan ;  I  caused  it  to  run  to  Mankayan. 

3.  I  met  a  young  unmarried  woman ;  I  met  a  young  unmarried  woman. 

4.  She  asked  me  to  have  commerce ;  she  asked  me  to  have  commerce. 

5.  "Wait  until  the  rising  sun ;  wait  until  the  rising  sun. 

6.  Then  (I)  will  have  commerce;  then  (I)  will  have  commerce. 

7.  Then  if  you  have  (a  baby)  ;  then  if  you  have  (a  baby)  ; 

8.  I  will  rear  (it)  in  my  house;  I  will  rear  (it)  in  my  house." 

8.  BALUGAK  ALID  LOKO  (KANKANAY) 

1.  Balugak  alid  loko,  ho-ho-o,  ho-ho-o.     (Repeat.) 

2.  Pangkaljo'd  ja  bangsaljo,  ho-ho-o,  ho-ho-o.     (Repeat.) 

3.  Tap  imaydali  too,  ho-ho-o,  ho-ho-o.     (Repeat.) 

4.  Inay  ti  salsalangto,  ho-ho-o,  ho-ho-o.     (Repeat.) 

5.  Agda  kami  kuskuso,  ho-ho-o,  ho-ho-o.     (Repeat.) 

6.  Ampay,  "Tui  daguanmo?"  ho-ho-o,  ho-ho-o.     (Repeat.) 

7.  "Ondaukami'd  ngo'd  sagud,"  ho-ho-o.     (Repeat.) 

8.  Kami'd  mangadan  Gaud,  ho-ho-o,  ho-ho-o. 


192  University  of  California  Publications  in  Am.  Arch,  and  Ethn.      [Vol.  15 

1.  I  am  a  dove  from  the  lowlands,  ho-ho-o,  ho-ho-o. 

2.  Take  away  your  tools,  ho-ho-o,  ho-ho-o. 

3.  Because  are  coming  people,  ho-ho-o,  ho-ho-o. 

4.  The  direction  is  from  the  north,  ho-ho-o,  ho-ho-o. 

5.  We  don't  see  all,  ho-ho-o,  ho-ho-o. 

6.  Question:  "Where  are  you  going?"  ho-ho-o,  ho-ho-o. 

7.  "We  will  go  also  to  Sagud,"  ho-ho-o,  ho-ho-o. 

8.  "We  will  get  Gaud,"  ho-ho-o,  ho-ho-o. 

9.  SALASALAGKA'N  BOLAN 

1.  Salasalagka 'n  bolan;  salasalagka 'n  bolan. 

2.  Panakchanko 'd  Kaptungan;  panakchanko 'd  Kaptungan. 

3.  Bato,  bato,  gatinan ;  bato,  bato,  gatinan. 

4.  Bulo,  bulo,  pachiman;  bulo,  bulo  pachiman. 

1.  Brighter,  brighter,  shine  you  moon ;  brighter,  brighter,  shine  you 

moon. 

2.  I  will  follow  the  trail  to  the  hot  lands ;  I  will  follow  the  trail  to  the 

hot  lands. 

3.  Rocks,  rocks  to  step  on ;  rocks,  rocks  to  step  on. 

4.  Bamboo,  bamboo  to  hold  to ;  bamboo,  bamboo  to  hold  to. 

10.  PANSADONKA'N   AMONIN 

1.  Pansadonka'n  amonina;  pansadonka'n  amonina. 

2.  Mo  bakbad  si  Atodinga;  mo  bakbad  si  Atodinga. 

3.  Agtoampta'n  mambadina;  agtoampta'n  mambadina. 

4.  Ampasud  timongauka;  ampasud  timongauka. 

5.  Imanakka  ni  chua ;  imanaka  ni  chua. 

6.  Pasigtayo  panchuana;  pasigtayo  panchuana. 

7.  Singa  sendesos  ngoruchian ;  singa  sendesos  ngoruchian. 

1.  Come  from  the  South  civet  cat ;  come  from  the  South  civet  cat. 

2.  You  cross  the  path  of  Atoding ;  you  cross  the  path  of  Atoding. 

3.  He  does  not  know  how  to  make  a  journey  to  trade;  he  does  not 

know  how  to  make  a  journey  to  trade. 

4.  Better  had  you  stayed  at  home ;  better  had  you  stayed  at  home. 

5.  You  would  have  had  children  two;  you  would  have  had  children 

two. 

6.  Ready  to  divide  between  us;  ready  to  divide  between  us. 

7.  Equal  to  a  hundred    (pesos)   the  younger;   equal  to  a  hundred 

(pesos)  the  younger. 


1919] 


Moss-Kroeber :  Nabaloi  Songs 


193 


11.  BAGBAGTO 

Bagbagto,  bagbagtolambik ;  tolarubik,  tolambibikan. 
Bibikan,  bibikalonay ;  kalonay,  kaloninkanay. 
Pinkanay,  pinkaaganay;  aganay,  aganayakta. 
Nayakta,  nayaktakompa ;  takompa,  takompayaan. 
Payaan,  payaatiban;  atiban,  atibalangau. 
Balangau,  balangauistan ;  ngauistan,  ngauistanabau. 
Tanabau,  tanabautikan ;  bautikan,  bautikamadun. 
Kamadun,  kamadiyongnas ;  diyongnas,  diyongnasaas. 
Asaas,  asaasdipnas;  asaas,  asaasdipnas. 

12.  SALANGI  (KANKANAY) 

Salangi,  salangi,  yanut;  salangi,  salangi,  yanut. 

Elastoi,  elastoi,  yanut;  elastoi,  elastoi,  yanut. 

Salagoi,  salagoi,  yanut ;  salagoi,  salagoi,  yanut. 

Salagoi,  salagoban;  salagoi,  salagoban. 

Num  agakati  i  mobidayak ;  num  agakati  i  mobidayak. 

If  I  do  not  die,  I  will  live;  if  I  do  not  die,  I  will  live. 

Kankanay,  kankanayonko ;  kankanay,  kankanayonko. 

A  Kankanay,  I  will  remain  a  Kankanay;  a  Kankanay,  I  will  remain  a  Kankanay. 

Some  of  these  songs  give  the  impression  of  being  more  or  less 
rhymed.  Compare  especially  numbers  3,  4,  5,  7,  8,  9.  "Whether  the 
Nabaloi  feel  these  apparent  rhymes  as  such,  is  difficult  to  say.  Primi- 
tive people  of  course  are  almost  invariably  ignorant  of  rhyme.  But 
the  Philippine  peoples  have  been  subject  to  so  many  and  ancient 
influences  from  higher  civilization,  that  the  question  cannot  be  dis- 
missed offhand,  and  attention  to  the  point  in  inquiries  among  other 
pagan  tribes  of  the  islands  seems  desirable. 


1.  MODERATO 


TRANSCRIPTIONS 
Y  ^ ^  z 


Gayankogi    natnga       man         gayankogi      namga    man     gaya  gaya    mayka-       ka 
2.        ADAGIO 


Ma-    a-       )i-        si          o-    ya-      mi  ma- a-     li-      si  oya-     mi 


194  University  of  California  Publications  in  Am.  Arch,  and  Etlm.      [Vol.  15 


3.        MODERATO  [KANKANAY] 


1 


0-    ra-       ngak     a-  lid         bay-  bay 


Ma-    a-      lis  pa-  lo-        na-         jo  ma-  a-    lis   pa-  lo-      na-          jo 


5.        Mosso 


Baklatankos  Ka-  mi-  sing  dibi-  nal-  yan^  tod  Gu-  sa-    ran   imau-  i     imayoro-       ti 
6        ADAGIO 


Titdawak  tit-         lunga-  yak      nambalayak          ti-        ba-  to 

7.        MODERATO  [KANKANAY] 


i 


m 


Ka  ba  yok  ilab-  labang          ka  ba  yok         ilab-  la     bang 


8.        MODEBATO  [KANKANAT] 
w 


Balugak      alid    lo*  ko  ho-  ho-       o  ho-  ho-        o 

9.        AD  AGIO 


^«<  ' ^J— • i^  ^ 


Sa-  la- 
10.        ADAGIO 


Ka         bu-  Ian 


ka  bu-       Ian 


Pansalong-ka-          na  amo-      ni-      na 


na  amo-     m  na 


1919] 

Moss-Kroeber:  Nabaloi  Songs 

195 

11.        ALLEGRETTO 

iJ>  2  nil  rr 

»  *^  W     J          r              a 

v                                                  v 

ni  j  nir  ni  J]  jT  r 

1  >i  pi  ni  —  —  | 

-«  —  J   JJ  —  p-J-*  —  *jCJ  —  it 

J-j—  -J-"*-  -J-f-H 

Bagbagto      bagbagto  Lambik    to  Larabik  to  Lambi  bi  kan      bi  bi  kan  bi  bi  ka  la  nay 


12.        ALLA  MABCIA  [KANKANAY] 
^  -.    M 


A 


[w] 


z=    y 

r  I  T 


Sa  langi      sa  langi          ya  nut 


sa  langi      sa  langi       ya  nut 


ANALYSIS  OF  MUSIC 
TONALITY  AND  SCALE 

These  songs  are  simpler  in  rhythm  and  structure  than  the  majority 
of  American  Indian  songs,  and,  at  least  in  transcription,  at  once  give 
the  impression  of  being  nearer  our  own  music  in  their  melodies. 
Several  of  them  follow  the  same  melodic  pattern  so  consistently  as  to 
suggest  a  fairly  definite  Nabaloi  scale. 

In  the  difficult  matter  of  determining  the  scales  of  primitive  music, 
the  commonest  source  of  error  is  likely  to  be  a  mishearing  and  mis- 
recording  of  the  actual  pitches  sung,  due  to  an  unconscious  fitting  of 
them  to  our  scale.  In  the  present  case  there  is  nothing  to  do  but 
to  accept  the  transcriptions  at  their  face  value;  but  as  the  scale 
which  works  out  as  the  most  prevalent  is  quite  different  from  our 
own,  it  seems  likely  that  the  transcriptions  are  substantially  reliable. 
Their  melodic  inaccuracies  are  unlikely  to  extend  beyond  a  standard- 
izing of  slight  deviations  or  vaguenesses  of  pitch  not  exceeding  a 
fraction  of  a  semitone. 

Perhaps  the  most  naive  error  in  this  connection,  but  one  often 
committed,  is  to  assume  our  scale  as  basic  and  decide  on  the  key  of 
each  song  according  to  the  sharps  and  flats  that  happen  to  be  written 
in  its  record.  Recognition  of  this  pitfall  is  sufficient  to  preserve 
from  it. 

The  problem  of  tonality,  that  is,  whether  a  given  type  of  primitive 
music  has  anything  corresponding  to  our  tonic  or  key-feeling  is  more 
fundamental  and  more  difficult.  Many  primitive  peoples  evidently 
have  much  less  feeling  for  tonality  than  we  exact.  When  they  possess 
some  such  sense,  however  slight,  the  question  arises  how  they  mark 


196  University  of  California  Publications  in  Am.  Arch,  and  Ethn.      [Vol.  15 

the  basal  tone,  whether  by  putting  it  at  the  end  of  the  song  as  we  do, 
or  at  the  beginning,  or  by  accenting  or  holding  it.  In  general  there  is 
no  method  of  determining  the  tonic  and  then  proceeding  to  build  the 
native  scale  upon  it,  since  an  assumption  as  to  either  scale  or  tonic 
really  predetermines  the  other.  The  only  feasible  plan  seems  to  be 
to  proceed  empirically  by  the  method  of  trial  and  error;  that  is,  to 
make  every  possible  assumption  as  to  both  scale  and  tonic,  and  to 
accept  as  the  native  (though  unconscious)  system  that  one  of  the 
several  eventuating  schemes  which  shows  the  greatest  coherence  and 
applies  most  consistently  to  the  total  body  of  music  known  from  the 
tribe.  Some  approach  to  such  a  scheme  is  often  discernible  after  suf- 
ficient analysis  and  arrangement;  and  this  framework  within  which 
the  melodies  incline  to  move,  if  it  is  not  too  irregular,  is  of  course 
the  primitive  equivalent  of  our  "scale." 

For  the  Nabaloi,  the  assumption  of  the  last  note  of  the  song  or 
melodic  unit  as  being  in  some  degree  the  tonic,  seems  to  work  out 
rather  favorably.  The  table,  in  which  for  the  sake  of  convenience 
all  the  melodies  have  been  transposed  as  if  they  ended  in  C,  shows 
that  on  the  assumption  that  the  tonic  comes  finally,  six  of  the  twelve 
songs  fall  into  a  scale  (F)  A[j  B[?  C  E[>  F  G.  This  in  turn  consists  of 
two  halves,  thus :  subtonic,  minor  third,  fourth,  fifth  =  tonic,  minor 
third,  fourth,  fifth.  The  total  range  of  the  scale  is  a  tone  more  than 
an  octave:  the  greatest  observed  range  within  any  melody  is  less 
than  an  octave.  There  is  clearly  no  feeling  for  the  octave  as  an 
interval. 

The  first  three  songs  in  the  table,  numbers  10,  2-4-9,  1,  show  this 
scheme  quite  rigidly.  Moreover,  they  all  begin  a  minor  third  higher 
than  they  end :  that  is,  they  open  on  the  first  note  of  the  scale  above 
the  assumed  tonic. 

Three  other  songs,  numbers  12,  7,  8,  begin  differently  and  do  not 
conform  so  strictly  in  range  or  choice  of  tones.  But  their  notes  fall 
within  the  same  scale. 

The  four  remaining  songs,  numbers  5,  11,  3,  6,  agree  neither  with 
the  preceding  six,  nor  with  each  other,  except  in  one  feature:  they 
replace  the  minor  third  by  the  second.  With  allowance  for  this  sub- 
stitution, and  twice  of  that  of  A  for  A[?  and  once  of  E  for  F,  three  of 
them  also  fit  the  suggested  scale.  Number  3  is  undoubtedly  akin  to 
number  7,  as  is  shown  by  both  beginning  on  the  fifth  below  the  final. 
Only  number  6  stands  wholly  apart. 

It  is  possible  that,  Nabaloi  intervals  being  less  definitely  fixed  in 


1919J 


Moss-Kroeber:  Ndbaloi  Songs 


197 


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OT                                                             53"    53"    <3~ 

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Minor  third 

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Major  third 

a  « 

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Second 

FREQUENCY 
KTWEEN  Su< 

co  i     co  en  i     to  i     co  co  co 

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co  i—  '  i      co  ;      co  i->  i      i—  >  i 

Minor  third 
Major  third 
Fourth 
Six  semitones 

Fifth 

OF 
3CESSIVE  NOTE83 

Descending 

M  i     i     i     i     co  i     i     co 
!     co  i     !     !     co  co  co  co 

i     i     M  co  t->  !     ;     i     i 

198  University  of  California  Publications  in  Am.  Arch,  and  Ethn.      [Vol.  15 

the  musical  consciousness  than  ours,  the  E|?  of  the  first  six  songs  and 
the  D  of  three  of  the  last  four  are  a  somewhat  fluctuating  attempt  at 
the  same  interval ;  or,  that,  the  same  interval  being  sung  in  all  cases, 
it  was  sometimes  apperceived  as  E[?  and  sometimes  as  D  by  the 
transcriber.  In  either  event,  the  A  and  E  could  be  similarly  equated 
with  the  more  regular  Ab  and  F. 

Plausible  as  this  interpretation  appears,  it  is  however  possible  that 
the  finality  of  the  tonic  is  only  a  tendency  and  not  a  rule  in  Nabaloi 
music.  The  lower  part  of  the  table  shows  the  result  reached  when 
the  notes  of  songs  5,  11  and  3  are  arranged  as,  without  correction,  and 
without  regard  for  "tonality,"  they  will  best  fit  the  scale  indicated 
by  the  preceding  six  songs.  Except  for  the  addition  of  D[?  in  num- 
ber 3,  they  fit  this  scale  absolutely  as  soon  as  they  are  allowed  to  end 
on  the  note  of  the  scale  next  above  or  below  the  ' '  tonic ' ' ;  that  is,  are 
transposed  so  as  to  close  with  Eb  or  Bb  instead  of  C. 

What  is  lost  in  regularity  of  signalization  of  the  tonic,  in  this 
alternative  interpretation,  is  therefore  gained  in  regularity  of  adher- 
ence to  scale.  Of  forty-three  notes  in  the  twelve  songs,  forty  now 
fall  in  the  scheme  F-Ab-Bb-C-Eb-F-G,  an^  tne  three  exceptions  are 
all  between  C  and  Eb.  The  assumption  of  the  invariable  coincidence 
of  last  note  and  tonic  yields  seven  deviations  from  the  scale. 

Which  of  the  two  interpretations  is  the  more  satisfactory,  it  is  hard 
to  decide.  That  one  or  the  other  comes  near  to  representing  the  actual 
melodic  basis  of  Nabaloi  music,  and  that  there  is  such  a  recognizable 
basis,  is  highly  probable  from  the  fact  that  more  than  half  of  the 
songs  accord  rigidly  with  the  double  hypothesis  of  a  certain  scale  and 
of  the  relation  of  the  closing  note  to  that  scale.  This  scale  may  oe 
described  as  lacking  semitones,  built  up  of  intervals  of  a  tone  and  a 
tone  and  a  half,  free  from  the  concept  or  influence  of  the  octave,  and 
non-pentatonic.  That  it  is  more  fluid  than  the  scale  of  modern 
European  music  need  not  surprise  among  a  primitive  or  semi-primitive 
people.  It  is  at  any  rate  the  prevailing  framework  for  a  rather 
definite  style. 

INTEEVALS 

The  frequency  of  the  several  intervals  between  successive  notes  in 
the  same  ten  songs  is  also  shown  in  the  table.  It  is  interesting  that 
whereas  melodic  ascents  tend  to  be  by  small  steps,  descents  are  more 
sudden.  Nearly  half  the  ascents  do  not  exceed  a  full  tone  at  a  time, 


1919]  Moss-Kroeber:  Nabaloi  Songs  199 

two-thirds  are  within  a  minor  third,  the  greatest  leap  upward  is  to 
the  fourth.  Of  descending  intervals  more  than  three-fifths  are  greater 
than  a  tone,  nearly  half  greater  than  a  minor  third,  the  fourth  is  the 
commonest  interval  after  the  second,  and  the  fifth  occurs. 

When  the  songs  are  grouped  as  previously,  they  differ  much  as 
they  do  in  scale. 

ASCENDING  DESCENDING 


SONGS                                        Minor    Major  Minor    Major 

Second      third     third     Fourth  Second    third      third    Fourth    Fifth 

2-4-9,  1,  10 16     8     4    ....  8139 

12,  7,  8 5544  24234 

5,  11,  3,  6 8228  11     6131 

It  is  clear  that  the  songs  that  adhere  most  closely  to  the  prevailing 
Nabaloi  scale  are  also  the  ones  that  are  most  given  to  the  use  of  the 
typical  ascending  and  descending  melodic  intervals. 

The  ascending  major  chord  C-E-G  occurs  in  songs  1  and  8,  the 
minor  C-Eb~G  in  2-4-9  and  5. 


EHYTHM  AND  STEUCTUKE 

The  rhythm  of  these  Nabaloi  songs  presents  no  difficulties;  their 
structure  is  very  simple.  They  consist  of  an  unvarying  and  perhaps 
indefinite  repetition  of  a  snatch  of  melody  never  more  than  eight  or 
ten  measures  long.  In  all  but  one  instance  (number  3,  which  is  very 
brief),  the  melody  consists  of  either  two  or  three  themes  or  phrases, 
or  units,  which  are  closely  similar.  Numbers  1,  5,  and  11  contain 
the  unit  three  times.  All  the  others  are  of  double  unit  type,  although 
numbers  8  and  12  repeat  the  process  within  the  unit.  These  may 
therefore  be  construed  as  built  on  a  plan  of  four  units,  though  for 
number  12,  at  least,  ' '  two  plus  two ' '  seems  a  better  interpretation. 

Generally  the  two  or  three  recurrences  of  the  unit  show  only  simple 
variations  in  rhythm.  Melodically  the  tendency  is  toward  singing  the 
recurrence  with  lower  notes  or  at  least  with  a  lower  close.  There 
seems  to  be  no  feeling  for  the  kind  of  climactic  effect  brought  about 
by  the  introduction  of  a  slightly  higher  note  or  two  after  a  number 
of  repetitions  of  the  theme — a  device  employed  by  many  of  the 
Indians  of  California,  most  of  whose  songs  follow  the  same  plan  of 
monotonously  repeating  a  melody  consisting  of  two,  three,  or  four 
variations  of  a  brief  theme.  The  Californians,  however,  evince  less 
inclination  to  work  the  general  course  of  their  songs  melodically  down- 


200  University  of  California  Publications  in  Am.  Arch,  and  Ethn.      [Vol.  15 

wards;  so  that  in  this  feature  the  Nabaloi  are  more  in  accord  with 
the  spirit  of  most  primitive  music,  in  which  this  trait  is  said  to  be 
conspicuous.  On  the  whole  there  are  probably  few  peoples  who  have 
attained  to  the  same  degree  of  civilization  as  the  Nabaloi,  whose  songs, 
if  the  present  examples  are  representative,  are  so  consistently  regular 
in  their  simplicity  of  structure. 

Number  1  was  recorded  with  its  first  measures  written  as  two  bars 
in  common  time,  and  its  last  note  prolonged  over  an  additional  three- 
fourths  note.  The  words,  however,  indicate  a  tripartite  division  of 
the  melody,  and  the  rewriting  of  this  as  presented  is  also  more  con- 
vincing musically.  The  ending  at  Y  does  not  match  as  closely  with 
that  at  Z  and  at  the  termination  of  the  melody  as  is  usual ;  but  a  very 
similar  handling  occurs  in  number  5.  Both  these  songs  might  be 
construed  as  built  on  the  plan  (a  -(-  &)  +  &;  that  is,  as  bipartite  with 
the  addition  of  a  coda.  The  only  other  tripartite  song,  number  11,  is 
merely  a  -4-  a  -f-  a:  the  three  phrases  are  identical,  and  it  is  the  words 
rather  than  the  air  that  indicate  the  complex  a  -(-  a  -f-  a  and  not  the 
mere  unit  a  as  the  melody.  It  therefore  follows  that  there  is  some 
doubt  whether  any  Nabaloi  songs  are  to  be  considered  as  basically 
constructed  on  the  scheme  of  three  repetitions  of  the  unit. 

Numbers  2,  4,  and  9  prove  to  be  but  a  single  melody,  although  they 
were  separately  transcribed  and  their  words  are  distinct.  The  air  is 
typical  in  structure,  rhythm,  scale,  and  intervals.  Number  4  has  been 
recorded  a  fourth  lower  than  2  and  9  but  is  unquestionably  the  iden- 
tical melody.  The  second  note  of  the  second  measure  is  F  in  the 
recorded  text,  which  has  already  been  noted  as  an  error  of  transcrip- 
tion for  E. 

Number  3,  which  belongs  to  the  Kankanay,  or  at  least  has  the 
words  in  that  dialect,  is  the  one  song  of  the  group  that  does  not  fall 
into  natural  divisions.  It  has  already  been  noted  as  irreconcilable 
with  the  usual  scale.  If  its  one  B  could  be  read  as  B[>,  it  would  con- 
form. The  text  repeats  the  words  orangak  olid  ~bay~bay  before  going 
on  to  another  ' '  stanza. "  It  is  therefore  possible  that  only  half  of  the 
melody  has  been  given. 

The  tripartite  division  of  number  5  and  similarity  of  structure  to 
1  has  already  been  mentioned.  It  might  be  added  that  the  break  at 
Y  comes  in  the  middle  of  a  word,  so  that  its  actuality  is  not  wholly 
certain.  In  the  record,  the  last  two  measures  were  written  as  a  single 
four-fourths  bar,  but  the  parallelism  of  parts  justifies  the  version 
presented. 


1919]       .  Moss-Kroeber:  Nabaloi  Songs  201 

Number  6  has  much  the  narrowest  melodic  range  of  any  song  in 
the  collection,  falling  within  a  minor  third.  Rhythmically  it  belongs 
to  the  type  of  2-4-9 :  the  two  shortest  notes  in  the  unit  immediately 
preceding  the  long  final.  Like  that  air,  it  is  recorded  in  common 
time ;  but,  as  this  arrangement  makes  the  point  of  division  Z,  which  is 
indicated  by  the  words  as  well  as  the  structure,  fall  in  the  middle  of 
a  bar,  it  would  probably  be  better  to  regard  each  unit  part  as  com- 
posed of  three  two-fourths  measures.  In  the  original  transcription,  the 
last  note  of  the  song  is  made  to  extend  over  most  of  an  additional  bar. 

Number  7  is  peculiar  in  that  the  two  parts  are  parallel  in  duration 
but  not  in  content.  The  first  half  consists  of  a  measure  three  times 
repeated  without  variation,  and  serving  as  a  kind  of  introduction  to 
the  melody  proper  in  the  second  half.  This  is  perhaps  the  reason 
why  the  second  half,  contrary  to  Nabaloi  custom,  moves  on  a  higher 
level  of  pitch. 

Number  8  has  as  its  melodic  content  the  notes  of  the  major  chord, 
but  with  the  middle  one  as  initial,  final,  and  fundamental.  It  breaks 
at  Z,  and  each  part  is  again  halved  at  W.  The  second  and  third  quar- 
ters are  identical.  The  result  is  that  the  two  halves  of  the  song  are 
not  symmetrical,  or  tend  to  be  so  inversely.  The  phrasing  of  the 
words  does  not  coincide  with  the  phrasing  into  either  halves  or 
quarters  of  the  music.  This  is  the  only  piece  in  the  collection  with 
suspended  accent,  that  is,  a  pause  coming  where  stress  is  expectable. 

Number  10,  which  is  "regular"  in  scale,  consists  of  two  halves 
which  are  rhythmically  identical,  with  the  second  throughout  moving 
a  tone  lower  in  pitch. 

Number  11  is  presented  as  recorded,  in  eight  two-fourths  measures. 
Words,  rhythm,  and  pitch  however  show  that  the  natural  divisions 
fall  at  the  points  Y,  and  that  the  three  resulting  parts  are  identical. 
That  is,  the  song  stanza  consists  of  three  repetitions  of  a  phrase  of 
five-fourths  duration,  accented  on  the  second  of  the  five.  The  accented 
note  is  the  highest  in  pitch.  This  is  the  only  instance  of  a  song  or 
theme  commencing  on  an  up-beat,  except  for  the  grace  notes  in  the 
following. 

Number  12,  which  is  not  strictly  a  Nabaloi  song  but  from  the 
neighboring  Kankanay,  repeats  its  first  part  identically  in  the  second, 
except  for  lowering  all  but  the  final  note  one  tone.  This  is  the  exact 
plan  of  number  10. 

Triple  time,  triple  grouping  of  accents  or  measures  into  the  unit, 
and  triple  grouping  of  units  into  the  stanza  or  song,  are  all  less  com- 


202  University  of  California  Publications  in  Am.  Arch,  and  Ethn.      [Vol.  15 

mon  than  double  or  quadruple  arrangement  in  this  series  of  melodies. 
Three-fourths  time  is  always  accompanied  by  double  or  quadruple 
phrasing  of  the  accents  or  of  the  theme  units,  and  vice  versa.  There 
are  several  songs  that  do  not  follow  triple  arrangement  at  any  point 
in  their  scheme.  But  these  either  divide  dichotomously  until  the 
quadruple  measure  is  reached,  or  group  double  measures  in  fours.  In 
short,  there  is  not  a  single  song  in  the  collection  that  adheres  con- 
sistently to  a  twofold,  threefold,  or  fourfold  grouping  of  its  various 
time  units.  This  condition  is  perhaps  due  to  an  unconscious  avoidance 
of  exaggerated  symmetry,  which  might  quickly  pall  in  music  so  simple 
and  regular  as  this.  The  stanza  or  air  of  all  the  songs  varies  only  from 
12  to  15,  16,  18,  or  24  quarter  notes  in  duration. 

Units  in 
stanza 

3 

2 

(2) 
3 
2 
2 
4 
2 
3 
2 

That  the  rhythms  of  this  music  are  not  specialized  is  shown  by 
the  fact  that  there  is  not  a  single  case  of  a  change  of  time  and  only 
one  of  an  approach  to  syncopation.  Trochaic  rhythm  prevails  heavily 
over  iambic. 


Song 
1 

Rhythm  of 
measure 

2 

Accents  in 
unit 
3 

2-4-9 

4 

2 

3 

3 

4 

5 

2 

3 

6 

7 

(2) 
3 

(3) 
3 

8 

3 

2 

10 

4 

2 

11 
12 

(5) 
2 

(1) 
4 

The  characteristic  traits  of  Nabaloi-Kankanay  vocal  music  may  be 
outlined  as  follows: 

1.  A  scale  of  full  tone  and  minor  third  intervals. 

2.  Non-recognition  of  the  octave,  the  compass  of  all  songs  being  less 
than  this  interval,  and  the  fundamental  usually  near  the  middle  of 
the  compass. 

3.  A  treatment  of  this  fundamental  somewhat  suggesting  that  of 
our  tonic. 

4.  Tones  in  their  actual  succession  in  the  melody  generally  not 
over  a  minor  third  apart,  and  never  beyond  the  fourth  ascending  and 
the  fifth  descending. 


1918] 


Moss-Kroeber :  Nabaloi  Songs 


203 


5.  Very  simple  and  regular  rhythms. 

6.  Themes  including  not  over  four  accents,  more  frequently  only 
two  or  three. 

7.  Elaboration  of  the  theme  into  the  stanza  or  air  proper  by  its 
repetition  two,  three,  or  occasionally  four  times,  sometimes  without 
change,  sometimes  with   only  a  lowering  of  pitch,   sometimes  with 
change  in  both  rhythm  and  pitch,  but  never  with  considerable  alter- 
ation. 

8.  Identical  repetition  of  the  stanza  or  air,  as  many  times  as  the 
words  demand,  to  form  the  song. 


COMPARISONS 
OTHER  NABALOI  SONGS 

Since  the  above  was  written,  two  farther  Nabaloi5  songs  have  come 
to  the  attention  of  the  author.  These  are  given  by  Otto  Scheerer  on 
page  149  of  volume  n  of  the  Philippine  Ethnological  Survey  Publica- 
tions. They  are : 


13.        Andoa-  ak    chi    Kayapa,       andoa-ak  chi    Kayapa 


14 


Kmibal          kimbal       dyo 


/L    /*           !      J 

1    J 

1 

r  rt\  i  »       if      ,-, 

J1 

Mr.  Scheerer  repeats  each  of  these  melodies  once  or  twice,  desig- 
nating them  as  ' '  second  line  of  the  same  song. ' '  But  his  ' '  lines ' '  are 
identical,  except  for  two  minor  variants.  Thirteen  in  the  second  line 
replaces  the  accented  D  in  the  third  measure  by  C.  Fourteen  runs 
as  given  the  second  and  third  times,  but  in  its  first  line  has  F  instead 
of  A  in  the  fifth  note.  I  suspect  both  of  these  departures  from  the 
reproduced  text  to  be  misprints. 


s  C.  R.  Moss  has  heard  these  airs  sung  at   Itogon  in  the  southern   part  of 
Benguet. 


204  University  of  California  Publications  in  Am.  Arch,  and  Ethn.      [Vol.  15 

Assuming  as  before  that  the  last  note  is  the  foundation  of  the 
scale  used,  and  transposing  to  C,  we  find  the  melodic  framework  to  be : 

13  ab  bb  c  eb  f  g 

14  bb  c  eb  f 

in  short,  exactly  that  previously  determined  as  typical  of  Nabaloi 
music. 

The  consecutive  intervals  conform  less  closely;  but  as  these  must 
needs  be  more  variable  than  the  scale,  a  discrepancy  would  only  be 
of  moment  if  very  marked  or  based  on  a  considerable  series  of  speci- 
mens. For  the  two  songs  together  they  are : 

Ascending  Descending 

Second 2  7 

Minor  third  1  3 

Major    third 1  1 

Fourth  2  2 

Fifth  1 

The  only  new  interval  is  the  ascent  to  the  fifth. 

The  first  measure  of  14  is  identical  with  the  first  of  number  7, 
except  for  the  longer  final  note. 

The  approach  to  the  "tonic"  final  is  through  the  note  most  com- 
monly used  in  the  preceding  songs:  a  full  tone  below. 

Major  third  below 8 

Second  below  1,  2-4-9,  3,  7, 13, 14 

Second  above  5, 6, 11 

Minor   third   above 10, 12 

4 

Thirteen  is  presented  as  first  published,  but  divides  at  Z  into  two 
balancing  parts.  This  plan  yields  two  units  of  seven  quarter  notes 
each ;  or  more  probably,  of  two  measures  in  three-fourths  time,  with 
the  last  note  prolonged.  This  analysis  dissolves  the  apparent  synco- 
pation in  the  third  bar.  Fourteen  is  very  brief  and  does  not  subdivide. 

It  is  clear  that  these  two  songs,  independently  noted  by  another 
observer  at  some  years'  interval,  agree  thoroughly  in  scheme  with 
those  already  analyzed,  and  thus  tend  to  corroborate  both  the  accu- 
racy of  Mr.  Francisco's  transcriptions  and  the  legitimacy  of  the 
interpretations  offered. 


1919]  Mos#-Kroel)er:  Nabaloi  Songs  205 

OTHER  GROUPS 

The  only  other  Filipino  music  known  to  the  authors  is  published 
by  Miss  Densmore  in  the  American  Anthropologist  for  1906.6  She 
gives  a  transcription  of  one  "Igorot"  song,  which  must  be  admitted 
to  be  as  thorough  a  rhythmic  and  structural  chaos  as  she  says  it  is. 
Its  tones  are  C,  D,  E,  G,  A.  The  three  lowest  and  the  two  highest 
evidently  form  two  levels  which  are  felt  to  be  distinct,  although  the 
melody  leaps  back  and  forth  between  them,  rising  from  C  to  G  and  A, 
and  falling  from  G  to  all  three  of  the  lower  tones.  By  assuming  E 
as  the  fundamental,  we  can  transcribe  this  air  to  fit  externally  into 
the  Nabaloi  scale:  A[>-Bt)-C-Eb-F.  But  this  does  not  meet  the  spirit 
of  the  song,  and  seems  arbitrary.  Whatever  structure  the  song  may 
have  is  also  certainly  of  a  different  type  from  the  structure  of  the 
simple  Nabaloi  songs. 

Miss  Densmore  also  gives  two  Negrito  songs.  The  first,  Amba,  is 
a  brief  theme,  consisting  essentially  of  a  reverse  progression  of  the 
scale  C-D-E-F-G-A.  This  is  not  like  anything  Nabaloi.  The  semi- 
tone interval  F-E  (the  two  tones  adjoin  in  the  melody)  is  practical^ 
without  Nabaloi  parallel.  In  its  repetition,  the  theme  is  rhythmically 
embellished;  in  this  process,  A  becomes  A-B^-A  and  A-B— A,  and  F 
becomes  F-GJj-F  and  F-G-F.  This  device  is  also  not  Nabaloi,  if  the 
present  transcriptions  are  accurate. 

The  second  Negrito  song,  Uso,  seems  also  to  be  based  on  a  simple 
theme,  but  this  is  not  adhered  to  after  its  first  statement.  The  range 
of  tones  is  C-D-E-F-G-A-B-C-D,  or  considerably  more  than  in  any 
known  Nabaloi  song.  Again  the  semitone  appears.  The  theme  ends 
in  the  second  measure  on  stressed  G,  which  is  reaccentuated  in  the 
fifth  and  sixth  measures.  If  this  G  is  assumed  as  the  fundamental 
and  transposed  to  C,  the  scale  becomes  F-G-A-B^-C-D-E-F-G,  with 
the  same  pivots  F-C-G  as  in  Nabaloi,  but  more  crowded  filling. 

It  may  be  added  that  both  songs  begin  on  an  up-beat,  which  is 
uncharacteristic  of  the  Nabaloi  style. 

It  is  clear  that  neither  the  ' '  Igorot ' '  nor  the  Negrito  songs  of  Miss 
Densmore  show  much  resemblance  to  Nabaloi  music. 

The  same  author  gives  also  the  approximate  tones  of  three  sets  of 
Moro  gongs,  each  set  being  played  as  an  instrument.  It  is  probable 
that  the  Moro  are  unable  to  control  or  modify  the  pitch  of  these  gongs, 
and  must  therefore  put  a  set  together  as  best  they  can  from  such  pieces 

a  New  series,  vin,  611-632,  1906. 


206  University  of  California  Publications  in  Am.  Arch,  and  Efhn.      [Vol.  15 

as  are  available.  It  is  also  unsound  to  compare  the  notes  of  a  musical 
instrument  with  the  tones  sung  by  the  unaccompanied  voice,  particu- 
larly when  the  manufacture  of  the  instrument  is  not  under  thorough 
mastery.  Still,  a  collocation  may  be  attempted.  Transposed  to  show 
as  C  the  note  on  which  the  melodies  usually  end,  the  tones  of  the 
gongs  are : 

Nabaloi  song  scale  F  Ab  Bb  C  Eb     F     G 

Samal  Moro  gongs  FG  Bb  C  F     G     A  C 

Samal  Moro  gongs  C  GAbA  BC  GB 

Lanao  Moro  gongs  CCJF  A  CD  FG 

The  compass  of  the  instrument  is  in  every  case  greater  not  only 
than  that  of  any  one  Nabaloi  song,  but  than  the  abstracted  Nabaloi 
scale.  At  the  same  time,  the  scheme  is  not  so  very  different,  if  allow- 
ance is  made  for  the  probable  inability  of  the  composer  of  each  instru- 
ment to  secure  all  his  gongs  of  precisely  the  pitch  he  may  have  desired. 
Thus,  lower  G  in  the  first  Samal  set  may  have  been  accepted  as  an 
approximate  substitute  for  Afc>,  the  same  G  in  the  second  set  in  place 
of  F,  the  upper  B  in  place  of  C.  It  is  true  that  this  is  speculation; 
but  the  recording  of  the  tones  of  a  considerable  number  of  such  gong 
instruments  might  well  throw  some  light  on  the  intervals  of  native 
Filipino  vocal  music,  and  would  in  any  event  be  of  interest  in  itself. 

Transmitted,  March  14,  1918. 


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